Tag: don giovanni

The lady was sad, and MAD. (We showed the kids an opera!)

don giovanni

My kids’ experience with opera comes entirely from Bugs Bunny, and we really wanted them to branch out. So, with great trepidation, we showed them Don Giovanni last weekend … and they loved  it. More or less.

We did it in two nights. The first night, I set out some trays heaped with treats in the living room. We had brie, havarti, and honey goat cheese and three kinds of crackers, red and green grapes, mini chocolate eclairs, and sparkling cider. So the kids were all excited and cheerful, and ready to have a fancy good time. For my kids, this step is essential. If they get any whiff of high art or culture, they turn into jerks and refuse to enjoy themselves, so they need to be softened up. This is okay with me, because I, too, enjoy cheese.

We went with the Metropolitan Opera’s 2000 production with set design by Franco Zeffirelli. This production has large, clear subtitles, and all the literate kids followed the action just fine. (And the story doesn’t waste any time, but leaps right in, which is one of the reasons I chose this opera.)

The amazing thing was that Benny (age 3) picked up an awful lot, too, and was engaged throughout. She could tell that DonjiManji was one bad dude. She called all the women “princesses” (score one for the wonderful costumes, which were everything opera costumes should be) and said that Donna Elivra was “sad, and mad.” When Don Ottavio was pestering Donna Anna for the umpteenth time, she remarked, “The princess wants him to shut up.”

They laughed at the funny parts (Ferruccio Furlanetto as Leperello did a great job of making all the subtler jokes obvious with gestures and smirks) and were aghast at Don Giovanni’s wickedness.

The NYT review said that Bryn Terfel

comes to the Don with his own powerful if somewhat repugnant point of view. If the production is about period elegance, the character itself achieves a modern mean-spiritedness. Endearing naughtiness is replaced with outright sadism. This is a coldly obsessive figure for whom rape and murder is not offhand but committed with pleasure.

Well, that is the role. I don’t see how the rest of the opera makes any sense if the Don is just endearingly naughty; and his sneering callousness helped the kids to see why (spoiler) Don Giovanni goes to Hell but Leperello gets off the hook. Terfel’s power and command were sufficient to explain why the women found him hard to resist, and, as the NYT says,

this not very nice man sings like an angel. The articulation was wonderful, and Mr. Terfel commands such a depth of color that his ”La ci darem la mano” could soar out into the hall even at half voice. Volume does not necessarily conquer the Met’s bigness. Quality and focus have a better chance.

The entire cast had that focus, and no one seemed dwarfed. Here’s the rest of the cast:

Bryn Terfel (Don Giovanni), Ferruccio Furlanetto (Leporello), Renee Fleming (Donna Anna), Solveig Kringelborn (Donna Elvira), Hei-Kyung Hong (Zerlina), Paul Groves (Don Ottavio), Sergei Koptchak (Commendatore) and John Relyea (Masetto). James Levine was conductor.

Renee Fleming was tremendous. I think a few of the kids were crying when she wept, “O padre mio!” The NYT:

Fleming’s Donna Anna had unusual breadth. ”Non mi dir” luxuriated in the softness of her timbre, yet the early scenes abandoned beauty for its own sake and took on a wonderful fierceness. She is in both moods a splendid musician; the attention to rhythm, phrase length and pitch legitimized the emotion.

Quite right about the two moods. She showed real depth. Her character is naturally more interesting than Don Ottavio’s anyway, but I was really struck, in this production, by how unworthy he is of her! And what a pest, good heavens. I think if she broke a toe or won the Nobel prize for phsyics, he’d scoot over and explain that this was the perfect time for her to get over her grief and marry him.  Anyway, she was immensely present in the role, and plus, she is just so beautiful.

Solveig Kringelborn as Donna Elivira was a revelation to me. I’ve heard this role mainly played as straight up crazy bitch; but Kringelborn brought out some real pathos and humor, and avoided sounding screamy in a role that has a lot of high notes. I enjoyed every minute of her performance, and the kids loved her.

Zerlina, I was not so crazy about, and the kids had a hard time with her character. I’ve seen her played more winningly.  Her voice was crystalline and her diction was perfect, but there was no appeal in her stage presence, that I could see. It would have been fine as an audio performance, but I wouldn’t seek out Hei-Kyung Hong out for this stage role again.

Masetto did fine. Paul Groves as Don Ottavio was nicely stolid and useless, and his voice was as lovely as you could wish for his lovely arias. Don Ottavio is not actually allowed to breathe at any point, and Groves did not. The Commendatore was nice and creepy. I totally would have repented if it had been me holding that cold hand!

assuming I was still awake by the time the Commendatore showed up again

assuming I was still awake by the time the Commendatore showed up

We rented this two-disc set through Netflix, which has several Don Giovannis available. You can buy the DVD set on Amazon, or you can rent it directly from the Met for $3.99.

Very sensitive audiences will be upset with the scariness of the final scene, and with Don Giovanni’s handsiness, but it is an opera about rape and damnation, so. There was nothing so explicit that we found it off-bounds for the kids.

Next up: not sure! I think Mozart is great for kids: the emotion is so evident, and he doesn’t waste any time. Maybe The Barber of Seville.I’m sadly ignorant about Italian opera, and I’d like to remedy that. What would you suggest?

The Myth of the Macho Christ

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Last week, I talked about the masculine qualities of protecting the weak, and exercising self-control, sexual and otherwise.  One reader responded:

If an affinity for babies and not having sex is manliness or courage or masculinity then some anemic nerd virgin gamer who babysits his cousins on the weekend is literally more manly and masculine than Achilles or Alexander the Great or Gengis Khan, since they fornicated. It’s absurd, but it’s truly the best approach to manliness people can come up with today. Actual manliness is unacceptable, so it has to be redefined as babysitting and not having sex. But described with real strong words. People want to throw men a bone because they care about their sons. But they can’t. They fail because actual manliness and masculinity imposes on women, and that’s officially out of bounds.

In charity, we’ll overlook the facts that Alexander the Great almost certainly had sex with men, and is best known for sitting down and crying, and we’ll  address the point that the commenter meant to make: that “actual manliness” means having sex whenever you want it; that “actual men” get women (and other weak people) to do what the men want, because that’s what’s best for everyone; and “actual men” don’t have time for little, feminine things, like children, or other people, or inaction. His point is that men have, until the last few decades, been admired mainly for their muscle and their ability to dominate.

So I asked:

What’s your opinion of Jesus? I’m sincerely curious. He didn’t fight back like a real man would. He just let them hang him there. And He was one of them virgins, too. Thoughts? Still holding out for a more masculine savior?

He responded:

No, I’m not saying virginity or holding babies precludes masculinity, but that it doesn’t define it at all. Not having sex didn’t make Jesus masculine. Sacrificing himself to crush the enemy and prevent group extinction is masculine, though, like Thermopoly. Maybe Alexander the Great was a bad example, but what about Achilles and Gengis Khan? The point is that virginity and taking care of babies isn’t manliness or masculinity. It’s the exact opposite—both virginity and holding babies are archetypal feminine things.

There’s a lot of confusion here.

First, there’s the statement that virginity is an “archetypal feminine thing.” I’m having a hard time  picturing a world where the women are all real women by being virgins, but the men are all men by being not-virgins. Even if we’re getting sheep involved, it just don’t add up. 

He also, possibly willfully, misunderstood me. No, there’s nothing especially masculine about taking care of babies or being a virgin. I never said there was. My point was that there’s nothing especially masculine about despising babies, and nothing especially masculine about despising virginity. That there is something very masculine about having the power to kill and rape, and deciding to use your strength for something else, instead.

The confusion here is a very old one. I mean very old, as in pre-War In Heaven-old. It’s the classic mistake of falling for a parody — of confusing a distortion for the real thing. We’re too smart to do the opposite of what we should do, but we’re dumb enough to fall for a disastrously bad imitation.

I remember hearing a Metropolitan Opera broadcast of Don Giovanni, where some gabbling announcer said, “You know, despite everything, you really have to admire the Don. I mean, look how he stood up to that statue! He really held his ground and didn’t let it push him around!”

Yarr, this is true. And then the demons with torches dragged him down to Hell, and the opera ends with a cheerful chorus of survivors, singing, essentially, “Boy, did he deserve it.”  The opera opens with the servant Leporello complaining about what a terrible boss he has, and at the end, he creeps off, presumably to find an employer who uses his noble birth justly and wisely, rather than as a license to murder and rape.

One of the main services that Christianity provided to the world (besides, you know,salvation) was to correct our model for femininity and masculinity, which got distorted almost as soon as the first man and woman were made. What needed correcting? Well, before Christ, the rest of the world was still laboring under the pagan delusion, the lapsarian distortion, that women are weak and that men are basically penises with swords. That’s what we revert to, when we listen to the distortions of sin.

And what was the correction that Christ give us?  He gave us woman clothed with the sun, queen of the angels, crusher of serpents. And a savior who poured out His life, not as a symbol, but for real. Who made Himself powerless, immobile, transfixed on the cross, open to shame, to spitting, to insults and humiliation. When Jesus died on the cross, no one said, “Look at this display of strength!” They saw Him fall; they saw Him overpowered. They saw Him dead. Ecce homo.

What do we know about this model of masculinity? He chose to let it happen. He had strength, and He chose to put away His strength, His manhood (never mind His Godhood). He chose to reserve it until it could be used the right way. He didn’t come to make unmistakable display of His power and might. There are still millions who don’t see it! He came, instead, to strengthen us, to protect us, to empty Himself out so that we might have life.

This is the new model of manhood. This is the kind of strength we’re talking about when we hold up Christ as a model for men. We glory in the risen Christ, but it’s the crucifix that we hang in our homes and above the altar.

If I were a man, I wouldn’t like it, either.

So I don’t blame the commenter for trying to go back to the old pagan ways, where men are expected to be walking, fighting, self-serving penises. That’s a hell of a lot easier to understand than the crucified Christ. Even my dog can understand that model of masculinity.

Even a doglike man, or a doglike woman, or a doglike angel can fall for a distortion, a grossly simplified counterfeit. This is what Eve did when she was offered wisdom, and instead chose information. She chose the clever counterfeit. This is what Adam did when he had Eve to advise him, and instead used her as someone to blame. He chose a clever counterfeit.

This is what Satan did when he refused to serve. The angels were created to glorify God, but Satan mistook his free will a sign that He was too good to serve God. He thought his freedom meant he was made to be independent of God.

God knows, he’s on his own now.

Hey, men. It’s really easy to go raging around, hitting stuff, yelling at people, and stuffing your penis into anything that doesn’t fight back.  It’s really easy to impose on people, especially if you are bigger than the people you’re imposing on.

But that’s not what Jesus did. That’s not what Jesus did.

As long as we were talking about opera, let’s remember the Marriage of Figaro, where the faithless count uses his wealth, his power, and his charm to seduce his way through the first four acts. He only repents of his philandering ways when the masks are removed, and he discovers that the woman he was trying to seduce was his own betrayed wife in disguise.

The moral of this story, for those who have ears to hear is: look out for those disguises. Watch out for those counterfeits you think you want so badly. Maybe you’ll be lucky, and it will be your long-suffering spouse under the mask. Maybe she’ll forigve you, and maybe you’ll repent, and maybe all will be well.

Or maybe you’re not in an opera, and when the mask is pulled away, you’ll see who you’ve really fallen for. And then the demons come to take you away to your chosen home.

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